宋瀧岡阡表墨拓本 歐陽修;Ouyang Xiu , 184x79

詳細資料

基本資料 藏品類型 書法,墨拓
文物統一編號 購拓000420N000000000 抽盤點紀錄 修護紀錄
作品號 購拓00042000000
品名 宋瀧岡阡表墨拓本
Ink Rubbing of the Shuanggang Tomb Inscription
分類 拓片
作者 歐陽修;Ouyang Xiu
書體 楷書
數量 一幅
作品語文 漢文
釋文 瀧岡阡表。 嗚呼。惟我皇考崇公。卜吉于瀧岡之六十年。其子脩始克表於其阡。非敢緩也。蓋有待也。脩不幸。生四歲而孤。太夫人守節自誓。居貧自力於衣食。以長□(以)教。俾至于成人。太夫人□(告)之曰。汝父□(為)吏廉。而好施與。喜賓客。其俸祿雖薄。常不使有餘。曰毋以是□(為)我累。故其亡也。無一瓦之覆。一壠之殖。以庇而為生。吾何恃而能自守耶。吾於汝□(父)。知其一二。以有待於汝也。自吾為汝家婦。不□(及)事吾姑。然知汝□(父)之能養也。汝孤而□(幼)。吾不能□(知)汝□(之)必有立。□(然)知汝父之必□(將)有後也。吾之始歸也。汝父免於母喪。方□(逾)年。歲時祭祀。則必涕泣曰。祭而豐不。如□(養)之薄也。間御酒食。□(則)又涕泣曰。昔常□(不)足。而今有餘。其何及也。始吾一二見之。以為新免於喪適然爾。既而其後常然。至其終□(身)。未嘗□(不)然。吾雖□□□(不及事)姑。而□□(以此)知□(汝)父之能養也。汝父為□(吏)。嘗夜燭□(治)官書。屢廢而歎。吾問之。則曰。此死獄也。我求其生不得尔。吾曰。生可求乎。曰。求其生而不得。則死者與我皆無恨也。矧求而有得耶。以其求而得。則知不求而死者有恨也。夫常求其生。猶失□(之)死。□(而)世常求其死也。回顧乳□(者)。劒□(汝)而立于旁。因指而歎曰。術者謂我□(歲)行在戍。將死。使其言然。吾不及見□(兒)之立也。後當以我語告之。其平居教佗子弟。常用此語。吾耳熟焉。故能詳也。其施於外事。吾不能知。其居于家。無所矜飾。而所為如□(此)。是真發於中者耶。嗚呼。其心厚於仁者耶。此吾知汝父之必將有後也。汝其勉之。夫□(養)不必豐□□(要於)孝。利雖□(不)得博於物。要其心之厚於仁。吾不能教汝。此汝父之志也。脩泣而志之不敢忘。先□(公)少孤□□(力學)。□(咸)平三年。進士及第。為道州判官。泗□(綿)二□(州)推官。又為泰州判官。享年五十有九。葬沙溪之瀧岡。太夫□(人)姓鄭□(氏)。考諱德儀。世為□□□□(江南名族)。太夫人恭□(儉)仁愛而有禮。初封福昌縣太君。進封樂安安康彭城三郡太君。自其家少微時。治□(其)家以□(儉)約。其□(後)常不使過之。曰。吾兒不能□□(苟合)於世。儉薄所以□(居)患難也。其後脩□(貶)夷陵。太夫人言笑自若曰。吾處之有素矣。汝能安□(之)。□(吾)亦□□(安矣)。自先公之亡二□□(十年)。脩始□(得)祿而□(養)。又十有二年。列官于□(朝)。□□□□(始得贈封)其親。又十□(年)。□□(脩為)龍圖閣直學士尚書吏部郎中。留守南京。太夫人以疾終于官舍。享年七十有二。又八年。脩以非才。□□□(入副樞)密。遂參政事。又七年而罷。自登□(二)府。□(天)子推恩。褒□(其)三世。故自□□(嘉祐)以來。逢國大慶。必加□(寵)錫。皇曾祖府□(君)。累贈金紫光□(祿)大夫。太師中書令。曾祖妣累封楚國太夫人。皇祖□□(府君)。累贈金紫光祿大夫。太師中書令兼尚書令。祖妣累封吳國太夫人。□□□(皇考崇)公。累贈金紫光祿大夫。太師中書令。兼尚書令。皇妣累封越國太夫人。今上初郊。皇考賜爵為崇國公。太夫人進號魏國。於是小子脩泣而言曰。□□(嗚呼)。為善無不報。而遲速有時。此理之常□(也)。惟□(我)祖考。□(積)善成德。宜享其隆。雖不克有於其躬。而賜爵受封。顯榮□□(褒大)。實有二□(朝)之錫命。是足以表見於後世。而庇賴其子孫矣。乃列其世譜。具刻于碑。□(既)又載我皇考崇公之遺訓。太夫人之所以教而有待於脩者。並揭于阡。□(俾)知□(夫)小子脩之德薄能鮮。遭時竊位。而幸全大□(節)。不辱其先者。□(其)來□□(有自)。熙寧三年。歲次庚戌四月辛酉朔十有五日乙亥。男推誠保德。崇仁翊戴功臣觀文殿學士。特進行□□(兵部)兵部尚書。知青州軍州事。兼管內勸農□(使)。□□□□(充京東東)路安撫使。上柱國樂安郡開國公。食邑四千三百戶。□□(食實)食實封一千二百戶。脩表。

典藏尺寸 【位置】 【尺寸】(公分)
本幅 184x79
全幅 100

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
收傳印記 沙谿巡檢司印(滿漢文並列)
收傳印記 澹臺靜農所藏

參考資料 【類別】 【參考資料】
內容簡介(中文)   「瀧岡阡表」成於宋神宗熙寧三年(一○七○),由歐陽修(一○○七-一○七二)撰文書碑,立石江西永豐鳳凰山。阡表依循漢代子為父立碑先例,追述其父崇國公及太夫人言行事蹟。文中流露人子感念親恩、追懷傷悼之情,其平常話語「祭而豐不如養之薄也」,道盡人子風木哀思。歐陽修為北宋文壇盟主,兼長金石考證之學。碑文楷書,結體寬博,用筆從容,具有唐人開闊的氣度。
內容簡介(中文) 歐陽修(1007-1072),字永叔,號醉翁,晚又號六一居士,廬陵(今江西吉安)人。此碑為歐陽修親自撰文並書丹,文章為著名的〈瀧岡阡表〉,碑石現存江西永豐縣沙溪鎮西陽宮碑亭內,該宮乃歐陽修生前託付道士看守其父母墳塋的道觀。他以其一貫的書風寫此碑,碑額四大字的筆法與結構也與小字類似。相較墨蹟,可發現此拓本用筆稍加凝重,除了可能與書寫態度有關外,刻手與拓工也是不可忽視的因素。(20061206)
內容簡介(英文) Ou-yang Hsiu, style name Yung-shu and sobriquet Tsui-weng (also with the late sobriquet Liu-i chu-shih), was a native of Lu-ling (modern Chi-an, Kiangsi). This stele was personally composed and calligraphed by Ou-yang Hsiu, his celebrated essay going by the title of “Shuang-kang Tomb Inscription”. The stele stone is presently located in the stele pavilion at the Hsi-yang Temple in the town of Sha-hsi in Yung-feng County, Kiangsi. This Taoist temple is where Ou-yang Hsiu entrusted a Taoist to care for the remains of his mother and father. He used his customary calligraphic style to write this funerary stele, the brush method and structure of the four large characters of the stele tableau being similar to those of his small characters. Compared to calligraphy done directly on paper or silk, one finds the brushwork in this rubbing to be slightly stiffer. Though perhaps related to the nature of the text, the influences of engraving and rubbing also cannot be overlooked as factors.(20061206)
內容簡介(中文) 歐陽修(西元一○○七-一○七二年),字永叔,號醉翁,晚號六一居士,廬陵(江西吉安)人。此碑為歐陽修親自撰文書丹,碑石現存江西永豐縣沙溪鎮西陽宮碑亭內,該宮乃歐陽修生前託付道士看守其父母墳塋的道觀。他以其一貫書風寫此碑,碑額四大字的筆法與結構也與小字類似。相較墨蹟,可發現此拓本用筆稍加凝重,除與書寫態度有關外,刻手與拓工也是不可忽視的因素。(20120104)
內容簡介(英文) Ouyang Xiu (style name Yongshu, sobriquet Zuiweng) was native to Luling (Ji’an, Jiangxi). This stele was personally composed and calligraphed by Ouyang, being a celebrated essay of his. The original stone is now in the stele pavilion at Xiyang Temple in Shaxi, Yongfeng County, Jiangxi. This temple is where Ouyang entrusted a Taoist to care for the remains of his mother and father. He used his customary style to write this funerary stele, the brush method and structure of the tableau’s 4 large characters similar to his small characters. Compared to calligraphy on paper or silk, the brushwork in this rubbing looks slightly stiffer. Though perhaps related to the nature of the text, the influence of engraving and rubbing also cannot be overlooked.(20120104)
參考書目 何炎泉,〈宋瀧岡阡表墨拓本〉,收入林柏亭主編《大觀-北宋書畫特展》(臺北:國立故宮博物院,2006.12),頁286-291。

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